Have an idea for a piece? Use the Contact link to get in touch with me about commissions. Pricing is based on size and level of detail. I work both from single photographs or by combining multiple images (see below).
If you're not quite sure what you're looking for, or have a concept in mind but not a specific image, I'm always happy to offer suggestions and/or sketch up options based on your ideas.
A few examples of the different processes are included below.
Working from an Idea
For this piece, the client knew they wanted a burning of a tall ship on the ocean, but didn't have a specific image in mind. We agreed that we wanted the final piece to be comprised of wood panels, but weren't sure how many, or where the ship would be situated in the piece. We worked together in stages to create a final image.
First, I sketched out seven rough images with different compositions: different numbers of panels, differently-sized ships, and different placements of the ship within the larger image.
The client chose their three favorite sketches from the seven, and I refined those to give a better sense of what the final product would look like.
The client chose the first image to make into a final product. It is shown below with its three wood panels placed flush against each other. The panels are not joined, and can be hung either flush or with space left between them.
Working from Composite Images
This burning was made as a birthday present for a client whose five huskies all stand at the window to watch him come home from work. His family wanted to give him a burning of the dogs at their stations, but didn't have a picture of them all together. I worked from individual photos of the dogs and the window in order to create the final image. I simplified the window--the original number of panes obscured too much of the dogs' faces--and grouped the huskies behind it. Below, you can see both the original photographs and the finished product.
Working from a Single Image
In this piece, I stayed almost entirely faithful to the photograph, changing just a few small details. I lightened the deep shadows, allowing for more detail in the trees, mountains, and grass. I also shifted the house and the boat out of the center of the piece to provide some balance. I was lucky with this piece of poplar: the streaks in the wood reflected the streaks in the clouds of the photograph, and I didn't have to do anything to enhance them.